1

東 海 大 學

工 業 設 計 學 系 碩 士 班

碩 士 論 文

融合馬來西亞和台灣文化之文創產品設計研究

Fusion between Malaysia and Taiwan Culture in

Creating Cross Cultural Products

研 究 生：何佳敏

指導教授：謝志成

中 華 民 國 一 零 六 年 六 月

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ABSTRACT

“Culture” plays an important role in the design field, and “fusion of cross-cultural

design” will be a key design point in the future as the world becomes borderless and people are

keen to embrace diversity. Malaysia is a rainforest country with multi-racial and multi-cultural

populace while Taiwan is a four season’s country with a single Chinese culture. The hypothesis

proposed is whether designing by fusing the Malaysia multi-cultural craft and Taiwan cultural

product will produce a new design trend that are acceptable in the global market and help to

increase the tourism economy. The intersection of design and culture will also help and let both

countries to understand and “communicate” better for a new and innovative product. For

example, a Malay kite (Wau) can be fused with Taiwanese Lantern creating a new table lamp

design. This fusion of cultural concept will bring out a different kind of design concepts that

are more appealing to the future generation demand.

Therefore, this study focuses on the analysis of cultural and cross-cultural meaning, the

cultures similarity and differences of Malaysia and Taiwan in order to extract the potential of

innovating and developing other relevant products. While in part two of this thesis, it will

attempt to propose and create an innovative daily necessities product based on the result of the

research of the integrated cultural design. Finally, after carefully studying and understanding

the fusion direction, this research managed to create up to 5 daily necessity fusion products

namely “The Climb” Pen Holder, “Bliss” Utensil Holder”, “Fortune” Wind Chimes, “Delight”

Table Lamp and “Aspiration” Teapot Set. Part three of the thesis will emphasize on evidenced

of the use of design that verify the conclusion of integration of the two cultures. Most of the

audience responded positively. This research of fusing two typical culture in two countries will

be a good example on how new product ideas are generated and also its possibility of inviting

further research on improving the design and functionality better for the benefits of human

well-being. This research can be used as a reference for future researcher to look into the

possibility of adding more features and functionality.

Keywords: Cross Cultural Design, Malaysian Culture, Taiwanese Culture, Integration

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中文摘要

“文化”在設計領域發揮著重要作用，“跨文化融合”將成為未來世界無國界，

人們熱衷於多樣化的重要設計點。馬來西亞是一個具有多種族和多民族文化氣息的熱

帶雨林國家，而台灣是一個擁有中華文化為主的四季國家。在這裡提出的假設是，是

否通過設計融合馬來西亞多元文化的工藝和台灣的文化產品會產生一種新全球市場可

以接受的設計趨勢，而且有助於提高旅遊經濟。跨文化設計也將有助於提升兩國對彼

此的了解和“溝通”更好的新型創新產品。例如，馬來風箏（Wau）可與台灣傳統燈

籠融合在一起，創造新的檯燈設計。這種融合文化概念將會帶來一種更為吸引未來一

代需求的不同設計理念。

因此，本研究的重點是分析文化和跨文化意義，馬來西亞與台灣的文化相性和

差異性，以便提取創新與發展其他相關產品的潛力。在本論文的第二部分中，將根據

綜合文化設計研究的結果，嘗試提出和創造創新的日用品。最後經過仔細了解融合方

向，本次研究設計了“步步高升”筆架、“幸福”餐具器皿、“財富”風鈴、“喜悅”

檯燈、“願望”茶具組。論文的第三部分將強調使用設計的證據來驗證兩種文化融合

的結論。大多數觀眾反應積極和正面。此研究是一個如何融合兩國典型文化並產生新

產品理念的好例子，並且還有可能進一步研究改善設計和功能，增進人類福祉的好處。

這項研究可以作為未來研究者的參考，研究添加更多特性和功能的可能性。

關鍵詞: 跨文化设计, 馬來西亞文化, 台灣文化, 融合

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ACKNOWLEDGMENT

I would first like to thank my brilliant thesis advisor Prof. Jei-Chen Hsieh of the

Department of Industrial Design at Tung Hai University. The door to Prof. Hsieh office was

always open whenever I ran into a trouble spot or had a question about my research or writing.

He allowed this paper to be my own work, but guided me in the right direction with his

profound wisdom. During my tenure, he contributed to a rewarding graduate school experience

by giving me intellectual freedom in my work, supporting my attendance at various

conferences, engaging me in new ideas, and demanding a high quality of work in all my

endeavors.

I would also like to thank all the subject matter experts in Tung Hai University, who

were involved in enriching my graduate learning experience and their invaluable lectures has

help in this research project: Prof. Paul Cheng, Prof. Chung Sing Wang, Prof. Ping Hong Kuo,

Asst. Prof. Li-Hui Lee, Asst. Prof. Chia-Chen Lu, Asst. Prof Chi-Hung Lo, and fellow research

seniors. Without their passionate participation and input, this research thesis could not have

been successfully written.

My special thanks to Tung Hai University and all the excellent administrative staff

whose dedication and commitment to their work has made my life in Tung Hai University as

one of the most productive and memorable experience.

I would also like to thank all the tour guides, museum curators, factories owners, and

friends in Malaysia and Taiwan, whose generosity in sharing their knowledge, expertise and

experience has allowed me to gather the facts and figures for this research.

Finally, I must express my greatest gratitude to my father, brother, sister and especially

to my mother, Mdm. Khoo Pay Leng for providing me with unfailing support and continuous

encouragement throughout my years of study and through the process of researching and

writing this thesis. This accomplishment would not have been possible without them. Thank

you.

Sincerely,

Jia Min, Wah

Department of Industrial Design, TungHai University Jun 2017

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TABLE OF CONTENTS ABSTRACT ......................................................................................................................... i

中文摘要 .............................................................................................................................. ii

ACKNOWLEDGMENT .................................................................................................... iii

TABLE OF CONTENTS ................................................................................................... iv

LIST OF TABLES ............................................................................................................ vii

LIST OF FIGURES ......................................................................................................... viii

Chapter 1 Introduction ....................................................................................................... 1

1.1 Research Motivation ................................................................................................................ 2

1.2 Research Purposes ................................................................................................................... 2

1.3 Research Creation Scope and Limitation .................................................................................. 2

1.4 Research Flow and Structure.................................................................................................... 3

Chapter 2 Literature Review .............................................................................................. 4

2.1 Culture..................................................................................................................................... 4

2.2 Cross Culture ......................................................................................................................... 10

2.3 Malaysian Culture and Behaviour ........................................................................................... 11

2.3.1 The people ...................................................................................................................... 11

2.3.2 Indigenous Ethnic Groups................................................................................................ 12

2.3.3 Geographical ................................................................................................................... 13

2.3.4 Malaysian Culture ........................................................................................................... 13

2.4 Taiwanese Culture and Behaviour .......................................................................................... 15

2.4.1 Taiwanization .................................................................................................................. 16

2.4.2 Taiwanese cuisine ........................................................................................................... 16

2.5 Semiotics ............................................................................................................................... 17

2.6 Imagery ................................................................................................................................. 18

2.6.1 Application of Imagery .................................................................................................... 19

2.7 Case Study of Current Cross-Cultural Products ....................................................................... 20

2.8 Summary ............................................................................................................................... 36

Chapter 3 Methodology .................................................................................................... 37

3.1 Field Study ............................................................................................................................. 38

3.2 Similarity and Difference of Culture between Malaysia and Taiwan........................................ 39

3.3 Observation and personal visit Imagery of Malaysia:- ............................................................. 41

3.3.1 Malaysia Traditional Textile: Batik ................................................................................... 41

3.3.2 Malaysia Traditional Textile: Songket .............................................................................. 43

3.3.3 Traditional Games of Malaysia: Wau (Kite) ...................................................................... 45

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3.3.4 Imagery Traditional Games of Malaysia: Congkak ............................................................ 46

3.3.5 Traditional Musical Instrument of Malaysia: Gendang, Jimbe, Serunai, Pinai, Geduk,

Gedombak, Rebana, Kompang, Gong, Rebab ........................................................................... 47

3.3.6 Tradition of Malaysia: Palm Leaf Satay fan ...................................................................... 47

3.3.7 Traditional House of Malaysia: Malay House ................................................................... 48

3.3.8 Traditional House of Malaysia: Attap House .................................................................... 49

3.3.9 Traditional Architecture of Malaysia: MinangKabau ........................................................ 50

3.3.10 Architecture of Malaysia: Petronas Twin Tower /Kuala Lumpur Convention Center (KLCC)

................................................................................................................................................ 51

3.3.11 Architecture of Malaysia: Kuala Lumpur Tower (KL Tower) ............................................ 52

3.4 Observation and personal visit to Imagery of Taiwan: - .......................................................... 53

3.4.1 Taiwan Traditional Textile: Taiwanese Hakka fabric ......................................................... 53

3.4.2 Taiwan Tradition: Chinese Ink Brush ................................................................................ 54

3.4.3 Taiwan Tradition: Chinese lantern ................................................................................... 55

3.4.4 Taiwan Tradition: Traditional Chinese Character ............................................................. 56

3.4.5 Taiwan Tradition: Taiwanese Tea Culture ........................................................................ 57

3.4.6 Taiwan: Night Market ...................................................................................................... 58

3.4.7 Taiwan: Bubble Milk Tea ................................................................................................. 59

3.4.8 Taiwan: Sky Lanterns ....................................................................................................... 60

3.4.9 Architecture of Taiwan: Taipei 101 .................................................................................. 61

3.4.10 Architecture of Taiwan: Traditional Chinese Architecture .............................................. 62

3.5 Summary ............................................................................................................................... 63

Chapter 4 Fusion of Cross Culture Product Design Ideation and Process ..................... 64

4.1 Product Creation Process Flow ............................................................................................... 64

4.2 Creative concept and development ........................................................................................ 64

4.2.1 Fusion Design .................................................................................................................. 65

Chapter 5 Final Products and Design Verification .......................................................... 78

5.1 Products Creation Results ...................................................................................................... 78

5.1.1 “The Climb” Pen Holder .................................................................................................. 78

5.1.2 “Bliss” Utensil Holder ...................................................................................................... 80

5.1.3 “Fortune” Wind Chimes .................................................................................................. 82

5.1.4 “Delight” Table Lamp ...................................................................................................... 84

5.1.5 “Aspiration” Teapot Set ................................................................................................... 86

5.2 Design verification and Feedback ........................................................................................... 88

5.2.1 Survey analysis for “The Climb” Pen Holder ..................................................................... 89

5.2.2 Survey analysis for “Bliss” Utensil Holder ........................................................................ 90

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5.2.3 Survey analysis for “Fortune” Wind Chimes ..................................................................... 91

5.2.4 Survey analysis for “Delight” Table Lamp ......................................................................... 92

5.2.5 Survey analysis for “Aspiration” Teapot Set ..................................................................... 93

Chapter 6 Conclusions and Recommendations................................................................ 95

6.1 Conclusions............................................................................................................................ 95

6.2 Recommendation .................................................................................................................. 96

References ......................................................................................................................... 97

Appendix ......................................................................................................................... 102

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LIST OF TABLES TABLE 1: RESEARCH FLOW AND STRUCTURE........................................................................................ 3 TABLE 2: FIELD STUDY FLOW AND STRUCTURE ................................................................................. 38 TABLE 3: FIELD STUDY FLOW AND STRUCTURE ................................................................................. 39 TABLE 4: CULTURAL DIFFERENCE BETWEEN MALAYSIA AND TAIWAN ........................................ 40 TABLE 5: PRODUCT CREATION PROCESS FLOW .................................................................................. 64 TABLE 6: SURVEY ANALYSIS FOR “THE CLIMB” PEN HOLDER ......................................................... 89 TABLE 7: SURVEY ANALYSIS FOR “BLISS” UTENSIL HOLDER .......................................................... 90 TABLE 8: SURVEY ANALYSIS FOR “FORTUNE” WIND CHIMES .......................................................... 91 TABLE 9: SURVEY ANALYSIS FOR “DELIGHT” TABLE LAMP ............................................................. 92 TABLE 10: SURVEY ANALYSIS FOR “ASPIRATION” TEAPOT SET ...................................................... 93

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LIST OF FIGURES FIGURE 1: MALAYSIA MAP ....................................................................................................................... 11

FIGURE 2: THE MALAYSIAN ..................................................................................................................... 11

FIGURE 3: TAIWAN MAP ........................................................................................................................... 15

FIGURE 4:KNITTED LAMPS ....................................................................................................................... 20

FIGURE 5: PAGODA TABLE LAMP ........................................................................................................... 20

FIGURE 6: FUSION LAMP COLLECTION .................................................................................................. 21

FIGURE 7: WHITE MINI FOO DOG TABLE LAMP SET ............................................................................ 21

FIGURE 8: THE ROTHESAY LANTERN ..................................................................................................... 21

FIGURE 9: FUSION OF CHINESE WESTERN LAMP ................................................................................. 22

FIGURE 10: THE NEW OLD LIGHT ............................................................................................................ 22

FIGURE 11: PINYEN BAMBOO LAMP ....................................................................................................... 23

FIGURE 12: SPUN LAMP ............................................................................................................................. 23

FIGURE 13: CHOU SMA WOOD LAMP ...................................................................................................... 24

FIGURE 14: ANGOLAN BASKET WEAVING MEETS TRADITIONAL CERAMICS ................................ 25

FIGURE 15: MOULDING TRADITION SET ................................................................................................ 25

FIGURE 16: MING 2 ..................................................................................................................................... 27

FIGURE 17: MING 2 ..................................................................................................................................... 28

FIGURE 18: YIN YANG LOUNGING OUTDOOR CHAIR .......................................................................... 29

FIGURE 19: KANBAN .................................................................................................................................. 29

FIGURE 20: KING CHAIR ............................................................................................................................ 30

FIGURE 21: REVERSE ................................................................................................................................. 31

FIGURE 22: TAIWAN ABORIGINAL CULTURE X AFRICAN CHARACTERISTICS BAGS AND

CLOTHES ............................................................................................................................................. 32

FIGURE 23: MCDONALD’S LOGO ............................................................................................................. 33

FIGURE 24: APPLE LOGO ........................................................................................................................... 33

FIGURE 25: COCA COLA’S BOTTLES ....................................................................................................... 34

FIGURE 26: ABSOLUT VODKA .................................................................................................................. 34

FIGURE 27: MICKEY CHINA SILVER ARGENT ....................................................................................... 34

FIGURE 28: DOUBLE MUG ......................................................................................................................... 35

FIGURE 29: FUSION OF CHRISTMAS AND CHINESE NEW YEAR DECORATION ............................... 36

FIGURE 30: THE BATIK CRAFTSMAN ARE MAKING BATIK INSIDE THEIR MALAY HOUSES AND

FACTORY ............................................................................................................................................ 41

FIGURE 31: 1998, US VICE PRESIDENT AL GORE WITH THAI PRIME MINISTER CHUAN LEEKPAI

IN A BATIK SHIRT, IN MALAYSIA ................................................................................................... 41

FIGURE 32: SONGKET MAKING ................................................................................................................ 43

FIGURE 33: SONGKET SHOP KELANTAN ................................................................................................ 43

FIGURE 34: U.S. PRESIDENT BARACK OBAMA, WEARING A TRADITIONAL SONGKET SHIRT,

TALKING WITH ASSISTANT SECRETARY OF STATE DANNY RUSSEL PRIOR TO A GALA

DINNER AT THE ASSOCIATION OF SOUTHEAST ASIAN NATION SUMMIT NOVEMBER 21,

2015 IN KUALA LUMPUR, MALAYSIA............................................................................................. 44

FIGURE 35: GALLERY WAU PAK SAPIE, KELANTAN AND KITE GALLERY PASIR GUDANG ......... 45

FIGURE 36: WAU IMAGERY CAN BE FOUND IN MALAYSIA AIRPORT, AIRLINE, PUTRAJAYA

STREET LIGHTS, MONEY AND COIN............................................................................................... 45

FIGURE 37: A SWAN SHAPE MALAYSIAN CONGKAK IN NATIONAL MUSEUM OF MALAYSIA ..... 46

FIGURE 38: CONGKAK WAS PRINTED ON MALAYSIA 10 SENS COIN AS MALAYSIA IMAGERY. .. 46

FIGURE 39: MALAYSIA TRADITIONAL INSTRUMENTS ........................................................................ 47

FIGURE 40: SATAY ..................................................................................................................................... 47

FIGURE 41:SATAY ...................................................................................................................................... 47

FIGURE 42: MCDONALDS’ PROMOTION ................................................................................................. 48

FIGURE 43: MALAY HOUSE ...................................................................................................................... 48

FIGURE 44: MALAY HOUSE REPLICA SOLD IN CENTRAL MARKET MALAYSIA .............................. 48

FIGURE 45: MALAY HOUSE ARCHITECTURE AS A LOGO .................................................................... 49

FIGURE 46: ATTAP DWELLING AND MODERN ATTAP HOUSE............................................................ 49

FIGURE 47: ATTAP HOUSE HOTEL IN LANGKAWI ISLAND, MALAYSIA ........................................... 49

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FIGURE 48: MINANGKABAU BUILDING, NEGERI SEMBILAN, MALAYSIA ........................................ 50

FIGURE 49: MINANGKABAU ARCHITECTURE MODEL AND MINANGKABAU CANDLE DANCE ... 50

FIGURE 50: PETRONAS TWIN TOWER ..................................................................................................... 51

FIGURE 51: PETRONAS TWIN TOWER ARCHITECTURE REPLICA ....................................................... 51

FIGURE 52: PETRONAS TWIN TOWER ARCHITECTURE WAS PRINTED ON DURIAN CANDY

BOXES ................................................................................................................................................. 51

FIGURE 53: KUALA LUMPUR TOWER ..................................................................................................... 52

FIGURE 54: A KUALA LUMPUR TOWER SOUVENIR FROM FAIRVIEW INTERNATIONAL SCHOOL

.............................................................................................................................................................. 52

FIGURE 55: HAKKA CLOTH ....................................................................................................................... 53

FIGURE 56: THE PILLOW AND BLANKET COVER OF TAINAN DUTCH WELL SPRING GUESS

HOUSE ARE SEW WITH HAKKA CLOTH ......................................................................................... 53

FIGURE 57: PINGXI POLICE STATION ...................................................................................................... 53

FIGURE 58: CHINESE INK BRUSHES IN SOUVENIR SHOP..................................................................... 54

FIGURE 59: VISITOR CAN TRY TO WRITE CHINESE CHARACTERS WITH THE PREPARED

CHINESE INK BRUSHES ON THE DESK ........................................................................................... 54

FIGURE 60: CHINESE INK BRUSHES LAMP ............................................................................................. 54

FIGURE 61: JIU FEN OLD STREET ............................................................................................................. 55

FIGURE 62: CHINESE LANTERN DECORATION IN NATIONAL PALACE MUSEUM AND TAIPEI BUS

STATION .............................................................................................................................................. 55

FIGURE 63: CHINESE LANTERN DECORATION IN TAMSUI OLD STREET .......................................... 55

FIGURE 64: CHINESE LANTERN DECORATION IN TAICHUNG TRAIN STATION; DONGBIE AND

TAICHUNG BEITUN ROUND ABOUT ............................................................................................... 55

FIGURE 65: CHINESE LANTERN DECORATION IN TAINAN SHEN NONG STREET ............................ 55

FIGURE 66: CHINESE LANTERN WITH CHINESE KNOT ON THE BOTTOM ........................................ 56

FIGURE 67: TRADITIONAL CHINESE CHARACTER ON THE STELE .................................................... 56

FIGURE 68:THE CHINESE CHARACTER OF THE SUNCAKE BOXES IS WRITTEN IN TRADITIONAL

CHINESE CHARACTER ...................................................................................................................... 56

FIGURE 69: TRADITIONAL CHINESE CHARACTER PRINTED ON THE TAIWAN POST OFFICE

CONVENIENCE BOX .......................................................................................................................... 56

FIGURE 70: TAIWAN CHINESE TEA BREWING MANUAL WRITTEN IN TRADITIONAL CHINESE

CHARACTER ....................................................................................................................................... 57

FIGURE 71: HAVING BREAKFAST AND TEA IN TAICHUNG CHUN SHUI TANG TEA HOUSE .......... 57

FIGURE 72: TAIWANESE SELF-BREWING TAIWANESE TEA ................................................................ 57

FIGURE 73: GIFTS FROM TAIWAN TOURISM COUNTER IN MALAYSIA MATTA FAIR ..................... 57

FIGURE 74: TAICHUNG FENG JIA NIGHT MARKET ............................................................................... 58

FIGURE 75: SOME YUMMY SEAFOOD THAT ARE SOLD IN THE FENG JIA NIGHT MARKET .......... 58

FIGURE 76: STINKY TOFU AND SUGAR COATED HAWS (NING XIA NIGHT MARKET) ................... 58

FIGURE 77: PEOPLE QUEUING UP IN FRONT OF THE BUBBLE TEA SHOP IN DONG BIE,

TAICHUNG .......................................................................................................................................... 59

FIGURE 78: LIGHT BULB BUBBLE MILK TEA IN TAMSHUI.................................................................. 59

FIGURE 79: A LARGE SCALE BUBBLE MILK TEA IN FRONT OF THE TEA SHOP IN TAINAN .......... 59

FIGURE 80: BUBBLE MILK TEA AS COMPANION DURING LUNCH ..................................................... 59

FIGURE 81: CHILDREN TAKING PICTURE WITH THE LARGE BUBBLE MILK TEA REPLICA .......... 59

FIGURE 82: TAIWAN TOURISM BOOTH GIVING OUT THE BUBBLE MILK TEA TO VISITORS. ....... 60

FIGURE 83: TAIWAN LANTERN FESTIVAL ............................................................................................. 60

FIGURE 84: TOURIST IS WRITING THEIR WISHES ON THE SKY LANTERN IN SHI FEN OLD STREET

.............................................................................................................................................................. 60

FIGURE 85: PING XI POLICE STATION WITH SKY LANTERN DESIGN ................................................ 60

FIGURE 86: NIGHT VIEW OF TAIPEI 101 .................................................................................................. 61

FIGURE 87: TAIPEI 101 FROM THE BASES AND THE LOCATION OF ITS “TUNED DAMPER MASS”61

FIGURE 88: CHINESE PAVILION IN A PUBLIC GARDEN NEAR NATIONAL TAIWAN MUSEUM ...... 62

FIGURE 89: CHINESE PAVILION-TAKEN FROM CABLE CAR ............................................................... 62

FIGURE 90: XINLAN PAVILION................................................................................................................. 62

FIGURE 91: CHINESE PAVILION IN SHILIN OFFICIAL RESIDENCE GARDEN .................................... 62

FIGURE 92: TAMSUI TRAIN STATION IN CHINESE ARCHITECTURE .................................................. 62

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FIGURE 93: CHINESE PAVILION IN TAINAN CITY ................................................................................. 63

FIGURE 94: GRAND HOTEL TAIPEI .......................................................................................................... 63

FIGURE 95: TAINAN CHIHKAN TOWER AND CHIHKAN TOWER MODEL .......................................... 63

FIGURE 96: FUSING THE VISUAL IMAGERY OF TAIWAN AND MALAYSIA ARCHITECTURE IN

CREATING A PEN HOLDER ............................................................................................................... 65

FIGURE 97: SKETCHES OF THE FUSION PEN HOLDER ................................................................ 66

FIGURE 98: EVOLUTION OF FUSION PEN HOLDER ............................................................................... 66

FIGURE 99: IDEATION MOCK-UP OF THE PEN HOLDER ....................................................................... 66

FIGURE 100: FINAL DESIGN AND DIMENSION OF THE PEN HOLDER AFTER MOCK-UP ................. 67

FIGURE 101: MALAYSIA “GEDOMBAK” FUSE WITH TAIWANESE BUBBLE MILK TEA ................... 68

FIGURE 102: IDEATION SKETCHES OF FUSION UTENSIL HOLDER .................................................... 69

FIGURE 103: MOCK-UP OF UTENSIL HOLDER ........................................................................................ 69

FIGURE 104: FINAL DESIGN AND DIMENSION OF THE UTENSIL HOLDER AFTER MOCK-UP ........ 69

FIGURE 105: FUSING MALAYSIAN MALAY TRADITIONAL “ATAP” HOUSE WITH TAIWANESE

TRADITIONAL INK BRUSHES AND TRADITIONAL CHINESE CHARACTER IN CREATING A

WIND CHIMES WITH LIGHT ............................................................................................................. 70

FIGURE 106: IDEATION SKETCHES OF THE FUSION WIND CHIMES................................................... 71

FIGURE 107: ILLUSTRATION OF THE WIND CHIMES ............................................................................ 71

FIGURE 108: FINAL DESIGN AND DIMENSION OF THE WIND CHIMES AFTER MOCK-UP ............... 72

FIGURE 109: FUSION OF TAIWANESE LANTERN, MALAYSIAN “BATIK” AND MALAYSIAN “WAU”

IN CREATING A TABLE LAMP.......................................................................................................... 72

FIGURE 110: IDEATION SKETCHES FOR FUSION TABLE LAMP .......................................................... 73

FIGURE 111: IDEATION MOCK-UP OF FUSION TABLE LAMP .............................................................. 73

FIGURE 112: FINAL DESIGN AND DIMENSION FOR FUSION TABLE LAMP ....................................... 74

FIGURE 113: FUSION OF TAIWANESE VISUAL IMAGERY SKY LANTERN WITH MALAYSIAN

OLFACTORY AND GUSTATORY IMAGERY “SATAY BAMBOO FAN” IN CREATING A TEAPOT

SET. ...................................................................................................................................................... 74

FIGURE 114: IDEATION SKETCHES OF TEAPOT SET ............................................................................. 75

FIGURE 115: IDEATION MOCK-UP OF TEAPOT SET............................................................................... 76

FIGURE 116: FINAL DESIGN AND DIMENSION OF TEAPOT SET .......................................................... 76

FIGURE 117: FINAL DESIGN AND DIMENSION OF TEAPOT ................................................................. 76

FIGURE 118: FINAL DESIGN AND DIMENSION FOR THE RACK OF TEAPOT SET .............................. 77

FIGURE 119: FINAL DESIGN AND DIMENSION FOR THE RACK OF TEAPOT SET .............................. 77

FIGURE 120: FRONT VIEW OF “THE CLIMB” PEN HOLDER .................................................................. 78

FIGURE 121: SIDE VIEW OF “THE CLIMB” PEN HOLDER ..................................................................... 79

FIGURE 122: SUPERIMPOSE OF “THE CLIMB” PEN HOLDER ............................................................... 79

FIGURE 123: FRONT VIEW AND SIDE VIEW OF “BLISS” UTENSIL HOLDER ...................................... 80

FIGURE 124: TOP VIEW OF “BLISS” UTENSIL HOLDER........................................................................ 80

FIGURE 125: “BLISS” WITH FRUITS FORKS ............................................................................................ 81

FIGURE 126: LIGHT OFF “FORTUNE” WIND CHIMES ............................................................................ 82

FIGURE 127: LIGHT ON “FORTUNE” WIND CHIMES .............................................................................. 82

FIGURE 128: SUPERIMPOSE ...................................................................................................................... 82

FIGURE 129: FOUR DIFFERENT KIND OF “BATIK” TEXTURE FOR THE “DELIGHT” TABLE LAMP 84

FIGURE 130: “DELIGHT” SHINE IN THE NIGHT ...................................................................................... 85

FIGURE 131: “ASPIRATION” TEAPOT SET ............................................................................................... 86

FIGURE 132: BACK VIEW OF "ASPIRATION" TEAPOT SET ................................................................... 86

FIGURE 133: TOP VIEW OF “ASPIRATION” TEAPOT SET ...................................................................... 86

FIGURE 134: PERSPECTIVE VIEW OF “ASPIRATION” TEAPOT SET ..................................................... 87

FIGURE 135: PERSPECTIVE VIEW OF “ASPIRATION” TEAPOT SET ..................................................... 87

1

Chapter 1 Introduction

There is no doubt that culture is the core principle or behavioural adoption that shapes

a society developmental and well-being. A country civilization is determined by the extent of

their cultural modernization and adaptability. It plays a pivotal role in determining a country

progress to the forward or backward. History has proven that a country that are able to accept

the diversity of culture usually will be able to progress further harmoniously as usually the

society will be more tolerance towards differences and similarity.

Culture is the common practice that makes the actions of the individuals perceivable,

understandable and communicable to a particular group to enrich their socialization. That is,

the system of shared values, beliefs and behaviour making up a society’s way of life. Culture

can either be represented form of material or non-material culture. Material culture is a term

representative of the physical creations made, used, or shared by the members of a certain

society; it is the society’s buffer against the environment. The components of material culture

are all the creations (objects) of the human kind for example kites, clothes, cars, faucets,

computers and others just to mention a few. The transformation of raw material into useable

forms through the employment of knowledge is paramount in the achievement of material

culture. For example, we make houses to shelter ourselves from the adversities of weather and

for our own privacy at the basic level, beyond this we make, use, and share sophisticated,

interesting and essential items relaying to our cultural orientation. For example, the types of

clothes one wears reflect a lot into the culture we subscribe to like school, religion, or event

that we attend.

Non-material culture on the other hand is the abstract or un-seen human creations by

the society fashioned towards the behavioural influence of the said society. The components

for the non-material culture include symbols, languages, values, and norms. For instance, the

activities a society participate like badminton games in Malaysia, social institutions such as

mosque, churches, schools, and so forth. The use of language, the patterns of behaviour and

beliefs, and values to it shape the direction of a society over time. Language in its influence on

perception, and values guiding what the society should be and norms forming the customs of

the society.

2

1.1 Research Motivation

In this 21st Century, when advanced technology is flourishing and blossoming like

mushrooms, the existence of modern transportations have convenient the people to travel from

one country to another. It also means that the culture of different countries is inevitably

intersected to each other especially when migration from one country to the other is a norm

nowadays. Malaysia is a multi-racial and multi-cultural country; while Taiwan culture has

influences from Japanese, American, Spanish and Dutch. Over the centuries, Taiwan gradually

developed its own distinct culture by fusing all the cultures and accepted it as their own.

However, Taiwan variations of culture are mostly inherited from Southern China culture which

most of Taiwanese forefather comes from. As a Malaysian student who stays in Taiwan, it is

interesting to observe, research and fuse both Malaysia and Taiwan culture in creating new and

innovative products. The influence of culture is not only as a source of design inspiration but

also an important factor to explore and evaluate the scale of influence in design innovation and

hopefully the integration of the products design can be sold as souvenir in both Malaysia and

Taiwan.

1.2 Research Purposes

There are theoretical discussion and design verification in this research.

1) Research on the cultures similarity and differences of Malaysia and Taiwan.

2) Based on the result of the research and then integrate two cultural and create an

innovative cross culture product.

3) Use of design to verify the conclusion of integration of two cultures.

1.3 Research Creation Scope and Limitation

This thesis is based on the graduate student who was born in Malaysia and have life

experience in Taiwan by observing the cultural differences and then to integrate the culture

between the two countries.

The purpose of the cultural product creation is to integrate both Malaysia and Taiwan

culture in creating cross culture products. Although Malaysia and Taiwan are Asian countries,

but they have some cultural difference. Due to the considerations of manpower, financial and

time, the creation of fusion cultural products will be narrowed down into the range of daily

necessities. This is because daily necessities product is the most direct contact products with

the basic needs of human being. By setting the product range into daily necessities, the

3

Malaysian and Taiwanese could experience and enjoy each other culture difference.

1.4 Research Flow and Structure

Table 1: Research Flow and Structure

Topic conceptual stage

Research Creation Scope and Limitation

Research Purpose

Research Background and Motivation

Literature Review

Cross Culture Culture Current Cross

Culture Products

Fusion of Cross Culture Product Design Ideation and

Methodology

Personal visit

Field Study

Observation

Pictures and video will be taken

for further analysis.

Cross Culture Product Design

Questionnaire

Discussion and Conclusion

Malaysia Taiwan

4

Chapter 2 Literature Review

Cultural practice of Malaysia and Taiwan general populace will be studied from all

aspects and will be the subject of emphasize in the literature review and retrieve the examples

of cross-cultural innovative design in recent years.

2.1 Culture

What is culture? The word "culture" derives from a French term, which in turn derives

from the Latin "colere," which means to tend to the earth and grow, or cultivation and

nurture. Culture is a notoriously difficult term to define. The word ‘culture’ has various

meanings and is used differently in different context.

Culture is the characteristics and knowledge of a particular group of people, defined by

everything from language, religion, cuisine, social habits, music and arts. According to

Useem,J and Useem,R of Human Organizations (1963) ,culture has been defined in a number

of ways, but most simply, as the learned and shared behaviour of a community of interacting

human beings. Also, whose component elements are shared and transmitted by the members

of a particular society (Linton, 1945). Culture consists in those patterns relative to behaviour

and the products of human action which may be inherited, that is, passed on from generation

to generation independently of the biological genes (Parson,1949). Culture is the collective

programming of the mind which distinguishes the members of one category of people from

another (Hofstede, 1984). Culture also define as learned and shared human patterns or models

for living; day- to-day living patterns. These patterns and models pervade all aspects of human

social interaction. Culture is mankind's primary adaptive mechanism said Damen,L (1987).

However, most social scientists today view culture as consisting primarily of the symbolic,

ideational, and intangible aspects of human societies said Banks, J.A., Banks, & McGee, C. A.

(1989). The essence of a culture is not its artifacts, tools, or other tangible cultural elements but

how the members of the group interpret, use, and perceive them (Banks, J.A., Banks, & McGee,

C. A., 1989). It is the values, symbols, interpretations, and perspectives that distinguish one

people from another in modernized societies; it is not material objects and other tangible

aspects of human societies. People within a culture usually interpret the meaning of symbols,

artefacts, and behaviours in the same or in similar ways.

The Center for Advance Research on Language Acquisition (CARLA) has gone a step

further, defining culture as shared patterns of behaviours and interactions, cognitive constructs

http://www.carla.umn.edu/culture/definitions.html

5

and understanding that are learned by socialization. Thus, it can be seen as the growth of a

group identity fostered by social patterns unique to the group. However, the most widely

accepted meaning of culture, nowadays, is ‘a description of a particular way of life which

expresses certain meanings and values implicit and explicit in particular ways of life.’ (William

1961). Fisher, quoted and defines culture as: “It is shared behavior, which is important because

it systematizes the way people do things, thus avoiding confusion and allowing co-operation

so that groups of people can accomplish what no single individual could do alone. And it is

behavior imposed by sanctions, rewards and punishments for those who are part of the group”

(Fisher, 1988).

According to Vaske and Grantham (1990), they emphasize that there are three basic

characteristics in culture.

i. Adaptability: Culture can adapt to the special circumstances of the substantive

environment and social environment.

ii. Integration: Cultural traits can be fused to other cultures converge.

iii. Changeability: Culture may change its characteristic any time by accepting new

things.

Moreover, Maletzke (1996) discuss that, there are various concepts often displayed as

the basic differentiation of cultures.

There are: -

i. National character OR Basic personality

Each nation has its own character, the French are not like the English, and the

Taiwanese are not like the Malaysian. For example: Taiwanese are enthusiasm and

Malaysians are conservative.

ii. Perception

Perception is not a passive, objective and neutral process. Every perception

is perceived as an active process: “what is perceived is becoming part of the

subjective experience, embedded into the whole of the personality structure of that

person, including whatever the person’s development process, his cultural and

material environment has given him or her as ways of thinking and viewing things”

(Maletzke, 1996:48). Visual perception is one of the traits where the culture specific

view objects is clearly demonstrated: Most Europeans will have difficulties

distinguishing for example Japanese faces. Tajfel (in Maletzke 1996,49) describes

an experiment where US Americans and Mexicans were presented with a series of

6

photos, depicting situations which were only known to the one or other nationality.

Each participant was found to remember more accurately and vividly the photos

showing situations that were familiar to their own culture. The other photos were

only relatively vague if at all remembered.

Shaking hands, kissing, hugging has different perception of feeling in

various cultural. Perception of smells “good” or “bad” can be different too in

various cultural surrounding. For example: Durian, the fruit that Malaysian love the

most and perceive that durian pungent smell is good and pleasant while most of the

Western, think that durian smell bad or terrible for them. Obama’s once said,

“Durian smell like smelly socks” after he had tried the Durian “Musang King”,

during his official visit to Malaysia.

iii. Time concept

Culture has a significant impact on the concepts of time. It can either be

perceived as linear (western perception) or circular (eastern perception). For

example, the German are always punctual while the Malaysian Chinese is always

late for wedding dinner. The German are punctual as their culture interpret that

punctuality is honoring the person we meet and also honoring our dignity. As for

the Chinese, they deliberately arrive late for a wedding dinner as they do not want

to be perceived as hard-up for a meal.

iv. Space concept

How we perceive space is equally depending of the culture. The western

cultures focus their attention on objects, and neglect the space in-between. The

Japanese, on the other hand, honor the space in-between. In a different system, the

Hopi Indians have in their language no words for a fixed room: all objects are

described in their relation to each other, but no concept of a three-dimensional space

exists (E.T. Hall, 1966).

The way we deal with space is different. The concepts of the private space, the

space orientation, the interpersonal distance and the space design is different

between culture. For example, the Malaysian will keep their distance when they

deal with stranger. However, the enthusiasm Latins will give the stranger a warm

embrace when they deal with them.

7

v. Thinking

The way we think equally depended and is influenced by the culture. For

example, the Western are deeply influence by Christianity while the Chinese are

deeply influence by Fengshui. Maletzke (1996:63) identifies the major paradigms

for thinking as:

i. Logic and pre-logic

Most of classical Western thinking is based on the Aristotelian view

of logic: analytical, linear and rational. Other cultures emphasize a more

complex set of logic, which can be described as holistic, associative and

affective.

ii. Inductive and deductive

While inductive thinking evolves from the particular into a

theoretical model, concepts or theories, the deductive thinking established

overall concepts first, which are then proven by specific, empirical findings.

Deductive thinking is usually associated with the Latin American, Arab and

Eastern European cultures.

iii. Abstract and concrete

The vision of the abstract or the concrete is another dominant model

in thinking. Western cultures in particular have developed a highly abstract

way of thinking, largely loose of emotions. Concrete thinking models

however favor a more plastic, emotional way of thinking.

iv. Alphabetical and an alphabetical

Related to the abstract and concrete models of thinking is the concept

of alphabetical and an alphabetical thinking. In cultures that have a high

degree of alphabetical perception, the abstract thinking is favored, as writing

is in itself an abstract picture of any situation. An alphabetical

communication system however favors a direct, connected to the person,

time and situation approach.

Each of the concepts of thinking are, of course, interconnected. With

some care, the concepts of logic, inductive, abstract and alphabetical can be

8

associated to the Western cultural influence area, however, those are not

rigid, and can probably not be applied large-scale. A particular problem

would be here, for example, the shift from printed words to highly visual

media, shifting thinking from abstract and alphabetical to concrete and in an

alphabetical order.

vi. Language

A symbolical-abstract language is the dominant sign of any culture. The

language of any group is directly connected to the world view of the group. Wilhelm

von Humboldt (1820) wrote regarding language: The difference in languages is not

a difference in sounds and signs, but a difference in worldviews.

The world in which different societies live are distinct world, not merely the

same world with different labels attached” Whorf notes: “the linguistic system …

of each language is not merely a reproducing instrument for voicing ideas but rather

is itself the shaper of ideas, the program and guide for the individual’s mental

activity, for his analysis of impressions, for his synthesis of his mental stock in

trade…” (Victor, 1992:20).

The interchange of Language and the frame of reference is also remarkable.

Maletzke (1996) distinguished that the German word ‘Blatt’ can have different

meanings in botany (a leaf), for a piano player (the score), graphic designer (the

sheet of paper) or players of card games (the set of cards). Equally, subcultures can

have their own distinctive words or meanings of words.

vii. Nonverbal communication

Although language can be understood as the main way of communication

between humans, it is not the only mean (Stephan Dahl, 1998). Each culture has a

different interpretation of the non-verbal communication on the same expression,

action or gesture. For example: The Ex-America President George W. Bush who

had to face a major faux pas during a visit to Australia. He tried to signal a peace

sign by waving the two finger or V-sign at the crowd. It is a simple gesture, but he

committed a major error. Instead of his palm facing outwards, it faced inwards. The

meaning of this hand gesture in Australia meant he was asking the crowd to go

screw themselves! Therefore, it is very important to understand the meaning of

nonverbal communication before you travel to different country (Nirmala, 2013).

9

viii. Values

Most of our actions and behavior is based on values, on what is perceived

as evil, good or neutral (Stephan Dahl, 1998). The categorization of behavior in

those categories is of course different in various cultures. For example, some culture

think that punctuality is virtue while some culture is not.

ix. Behavior: norms, rules, manners

In every culture, patterns of behavior can be found to be judged as ‘correct’

or ‘incorrect’. Norms and rules of a culture determine how to behave. While the

value orientations discussed in the previous section deal with behavior on a very

abstract basis, the norms, rules and manners of a society deal with behavior in

concrete, every-day-life (Stephan Dahl, 1998). For example, Chinese like the

number “8” because the homophonic of “8” mean fortune while Malay like the

number “4” because number “4” look like sitting down with cross-legged. That

mean they would have enough money to be sitting pretty for the rest of their life.

x. Social groupings and relationships

Societies are grouped together: they contain families, classes, castes, status,

and elites. While those social structures are dynamically changing in today’s world,

they can still be found in all societies, although the importance has diminished in

many (Stephan Dahl, 1998). According to Stephan Dahl (1988), interaction between

groups can vary drastically from culture to culture, the relationship of the individual

to the group is equally volatile: both depend on and interact with each other,

however depending on the cultural environment, the emphasis may be more on the

individual or on the group the individual belongs to.

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2.2 Cross Culture

According to Oxford dictionary, cross culture dealing with or offering comparison

between two or more different cultures or cultural areas. The success of so many of

people daily interactions are dependent on the ability to make sense of other people’s point of

view and figure out why they do the things they do and what they want (Rasmussen,2016).

Often it even seems difficult to understand where people who are close to us are coming from

(Rasmussen, 2016). According to Ahmed (1984), the earliest cross-cultural researcher is

Beruni. Beruni using Cross - cultural Comparison to compare the Religious Anthropology

between Middle East and Mediterranean.

George P.Murdock and Douglas R. White (1969) mention that, any culture tend over

time to become functionally integrate or reciprocally adjusted to one another. Besides, as new

elements are invented or borrowed they are gradually fitted into the pre-existing cultural matrix,

and the latter is modified to accommodate them (George.P.M and Douglas.R.W, 1969).

Understanding how others who are different from us experience the world by adopting

a cultural perspective can be a very difficult task (Investopedia, 2017). Cross culture can also

refer to anyone who have initiatives to increase understanding of different groups, develop

effective communication or marketing efforts to reach out to customers and clients outside its

traditional market (Investopedia, 2017). Methods of cross culture are intended to strengthen

the interaction of people from different backgrounds in the business world and is a vital issue

in international business (Investopedia, 2017).

Investopedia (2017) mention that everyday experiences, even those that may seem

trivial, can be vastly different in various cultures. Accepting a business card from a Japanese

businessperson, for example, is more ceremonial in Japanese culture than it is in American

culture (Investopedia, 2017). When accepting a business card, the person receiving it in Japan

is expected to take it with both hands and review it to show respect. The person presenting the

card will bow and present the card with both hands. This may seem strange in the United States,

as cards are usually exchanged freely, but understanding this can help those in Japan to avoid

showing disrespect. Likewise, understanding this can help Japanese businesspeople to not feel

disrespected if their American counterparts are less ceremonial about taking their business

cards (Investopedia, 2017).

Cross-cultural studies can be the same type of product but in different cultures

background. Example, Huang (2010) has been using Cross-cultural design and cognitive

discrepancy on ride-on toys between Taiwan and Mexico.

11

2.3 Malaysian Culture and Behaviour

Figure 1: Malaysia Map

Malaysia is a multi–ethnic, multicultural, and multilingual society, and the many ethnic

groups in Malaysia maintain separate cultural identities (Kahn,Joel.s, 1998) and live together

peace and harmony. This multiculturalism has made Malaysia a gastronomical paradise and

home to hundreds of colourful festival (Tourism Malaysia, 2017).

2.3.1 The people

Figure 2: The Malaysian

The largest ethnic groups in Malaysia are the Malays, Chinese and Indians. In Sabah

and Sarawak, there are a myriad of indigenous ethnic groups with their own unique culture and

heritage (Tourism Malaysia, 2017).

According to Tourism Malaysia (2017), the Malays are the largest ethnic group that

make up more than 50% of the population. In Malaysia, the term Malay refers to a person who

practices Islam and Malay traditional, speak the Malay language and whose ancestors are

Malays.

While Chinese are the second largest ethnic group. The Malaysian Chinese have been

settling in Malaysia for many centuries and form about 25% of the population. Mostly

12

descendants of Chinese immigrants during 19th century. The first Chinese to settle in the Straits

Settlements, primarily in and around Malacca, gradually adopted elements of Malaysian

culture and intermarried with the Malay community and with this, a new ethnic group called,

Peranakan emerged ("Straits Chinese") (R. Raghavan, 1977). These Chinese have adopted

Malay traditions while maintaining elements of Chinese culture such as their largely Buddhist

and Taoist religion (R. Raghavan, 1977). The Chinese are known for their diligence and keen

business sense (Tourism Malaysia, 2017). The three sub-groups who speak a different dialect

of the Chinese language are the Hokkien who live predominantly on the northern island of

Penang; the Cantonese who live predominantly in the capital city Kuala Lumpur; and the

Mandarin-speaking group who live predominantly in the southern state of Johor (Tourism

Malaysia, 2017). Besides from this three Chinese Language, there are also other dialect like

Heng Hua, Hakka, Teowchew, Foochow and Hainanese speaker around Malaysia.

Indian is the smallest of three main ethnic groups. The Malaysian Indians form about

10% of the population. Most are descendants of Tamil-speaking South Indian immigrants who

came to the country during the British colonial rule (Tourism Malaysia, 2017). The Indian came

to Malaysia to build a better life due to the prospect of breaking out of the Indian caste system.

Predominantly Hindus brought with them their colourful culture such as ornate temples, spicy

cuisine and exquisite sarees. R. Raghavan, (1977), a community of Indians who have adopted

Malay cultural practices also exists in Malacca. Though they remain Hindu, the Chitties speak

Bahasa Malaysia and dress and act as Malays

2.3.2 Indigenous Ethnic Groups

The Indigenous Ethnic Groups of Peninsular Malaysia is “Orang Asli” which literally

translates as the “original people”. Orang Asli is the earliest inhabitants of Malaya, formed

only 0.5 percent of the total population in Malaysia in 2000 (Gomes, Aleberto G, 2010). The

140,000 Orang Asli, or aboriginal peoples, comprises number of different ethnic communities

living in peninsular Malaysia (Gomes, Aleberto G., 2007). Majority of them have converted to

Christianity.

They are divided into three main tribal groups: Negrito, Senoi and Proto-Malay. Negrito

usually live in the north, the Senoi in the middle and the Proto-Malay in the south. Each group

has its own language and culture (Tourism Malaysia, 2017).

In Sabah, the largest Indigenous Ethnic Groups of Sabah’s population are the Kadazan

Dusun (30%), Bajau (15%) and Murut (3%).While in Sarawak, the Indigenous Ethnic Groups

https://en.wikipedia.org/wiki/Malaccahttps://en.wikipedia.org/wiki/Chittyhttps://en.wikipedia.org/wiki/Orang_Asli

13

known as Dayaks, the Iban (30%), Melanau (6%) Bidayuh and Orang Ulu (Tourism Malaysia,

2017).

2.3.3 Geographical

Malaysia consists of two distinct geographical regions and is almost as diverse as its

culture. 11 states and 2 federal territories form Peninsular Malaysia is separated by the South

China Sea from East Malaysia (Tourism Malaysia, 2017). Malaysia was formed when the

Federation of Malaya merged with North Borneo , the province of Sabah, Sarawak, third

federal territory, the island of Labuan and Singapore (seceded 1965) in 1963

(Anonymous,2010). However, the cultural differences between Peninsular and East Malaysia

remain.

In the book “Was Merdeka taken or was it given?”( Raja.P.K, 2010) said that during

the formation of Malaysia, executive power was vested in the later the Barisan National of

three racially based political parties, namely the United Malays National

Organisation (UMNO), Malaysian Chinese Association (MCA), and Malaysian Indian

Congress (MIC) ?”(Malaysia Today, 2010). UMNO has dominated the coalition from its

inception (Anonymous, 2010). Although Islam is the official state religion, the Constitution of

Malaysia guarantees freedom of religion. (Malaymail Online, 2007).

2.3.4 Malaysian Culture

Malaysia culture typically draws from the multiple cultures of the different ethnic

people living in Malaysia. The first people to live in Malaysia were the aborigines that still

remained. They were followed by the Malays, who moved there from mainland Asia in ancient

times. When trade began with other countries such as India and China, the Chinese and Indian

culture influences made their mark and enhanced with the immigration to Malaysia. Other

cultures that heavily influenced Malaysian culture include Persian, Arab and British. The many

different ethnicities that currently exist in Malaysia have their own unique and distinctive

cultural identities, with some fusion and blending. The society of Malaysia has been described

as "Asia in miniature" (Andaya, Barbara Watson; Andaya, Leonard Y, 1982). The structure of

the government, along with the racial balance of power caused by the idea of a social contract,

has resulted in little incentive for the cultural assimilation of ethnic minorities in Malaya and

Malaysia (R. Raghavan, 1977). Crouch, Harold A. (1996) said that the government has

historically made little distinction between "Malay culture" and "Malaysian culture".

Arts and music have a long tradition history in Malaysia, with Malay art dating back to

the Malay sultanates in the 1400’s. Traditional art was centred on fields such as carving,

https://en.wikipedia.org/wiki/Malaysiahttps://en.wikipedia.org/wiki/North_Borneohttps://en.wikipedia.org/wiki/United_Malays_National_Organisationhttps://en.wikipedia.org/wiki/United_Malays_National_Organisationhttps://en.wikipedia.org/wiki/Malaysian_Chinese_Associationhttps://en.wikipedia.org/wiki/Malaysian_Indian_Congresshttps://en.wikipedia.org/wiki/Malaysian_Indian_Congresshttps://en.wikipedia.org/wiki/Islamhttps://en.wikipedia.org/wiki/State_religionhttps://en.wikipedia.org/wiki/Constitution_of_Malaysiahttps://en.wikipedia.org/wiki/Constitution_of_Malaysiahttps://en.wikipedia.org/wiki/Freedom_of_religionhttps://en.wikipedia.org/wiki/Malaysiahttps://en.wikipedia.org/wiki/Malay_peoplehttps://en.wikipedia.org/wiki/Chinese_culturehttps://en.wikipedia.org/wiki/Indian_Culturehttps://en.wikipedia.org/wiki/Persian_culturehttps://en.wikipedia.org/wiki/Arabic_culturehttps://en.wikipedia.org/wiki/British_culturehttps://en.wikipedia.org/wiki/Social_contract_(Malaysia)https://en.wikipedia.org/wiki/Cultural_assimilationhttps://en.wikipedia.org/wiki/Malay_Archipelagohttps://en.wikipedia.org/wiki/Harold_Crouch

14

silversmithing, and weaving. Cultural taboos restricted artwork depicting humans until the

mid-20th century. Performing arts and “Wayang Kulit” (shadow puppet) shows are popular,

and often have Indian old epic stories influences such as “Ramayana and Hanuman”. Various

influences can also be seen in building architecture, from individual cultures in Malaysia,

Sumatera, Java, British, Portuguese, Dutch and many other countries. Large modern structures

have been built, including one of the tallest twin buildings in the world, the Petronas Twin

Towers. Malaysian music has a variety of origins, and is largely based around percussion

instruments. Much early Malaysian literature was based on Indian epics, which remained

unchanged even as Malays converted to Islam; this has expanded in recent decades. English

literature remained restricted to the higher class until the arrival of the printing press. Chinese

and Indian literature only appeared in the 19th century.

Cuisine is often discriminated along ethnicities, but some dishes have the fusion of

foods from different ethnicities such as the “Baba and Nyonya” food which is fusion of Malay

and Chinese food. Each major race group has its major celebrations which are declared as

official holidays. Although festivals often stem from a specific ethnic background, they are

celebrated by all people in Malaysia.

Traditional sports are popular in Malaysia, where games like “Gasing” (Top Spin),

“Wau Bulan” (Kites) are the leisure traditional games that folks would play. People not only

enjoyed playing the games but it also enhanced the society communication, integration and

socialization.

https://en.wikipedia.org/wiki/Petronas_Twin_Towershttps://en.wikipedia.org/wiki/Petronas_Twin_Towers

15

2.4 Taiwanese Culture and Behaviour

Figure 3: Taiwan Map

About 70% of the Taiwanese people descended from Hoklo immigrants who arrived to

the island prior to the start of Japanese rule in 1895 (Davidson, 1903). Taiwan culture is mainly

characterized by three points, one is immigration culture, the second is the island culture and

the third is the subtropical to the tropical village culture. According to Huang (1997),

the culture of Taiwan is a blend of Confucians Han Chinese and Taiwanese aborigine’s cultures.

Often perceived in both traditional and modern understanding. It is also influence by Japanese,

American, Spanish and Dutch. Over time, Taiwan gradually developed its own distinct culture,

mostly from a variation of Chinese culture coming from the Southern China which most of

Taiwanese forefather originated from (Huang, 1997). Reflecting the continuing controversy

surrounding the political status of Taiwan, politics continues to play a role in the conception

and development of a Taiwanese cultural identity, especially in the prior dominant frame of a

Taiwanese and Chinese dualism. In recent years, the concept of Taiwanese

multiculturalism has been proposed as a relatively apolitical alternative view, which has

allowed for the inclusion of mainlanders and other minority groups into the continuing re-

definition of Taiwanese culture as collectively held systems of meaning and customary patterns

of thought and behaviour shared by the people of Taiwan (Hsiau, 2005) (Winckler 1994).

Taiwan's culture and cultural legacy has been largely shaped by the processes of

imperialism and colonization as the structural and psychological effects of successive colonial

projects have been integral to developing Taiwan’s self-image and the evolution of both official

and unofficial Taiwanese culture (Yip, 2004).

https://en.wikipedia.org/wiki/Culture_of_Taiwan#CITEREFHsiau2005https://en.wikipedia.org/wiki/Culture_of_Taiwan#CITEREFWinckler1994

16

For most of its colonized existence, Taiwan remained on the cultural margins, far from

the centres of civil and cultural life of each regime, and with every regime change, Taiwan’s

cultural centre shifted. At various times Taiwan’s cultural centre has been Indigenous Taiwan,

Amsterdam, Xiamen (Amoy), Qing -era Beijing, Imperial Japan, post-war China and even,

arguably, the United States (Winckler 1994; Morris, 2004).

Taiwanese set traditional Lunar New Year as the basis of the Spring Festival. Besides,

Dragon Boat Festival, Mid-Autumn Festival in Taiwan is a national holiday.

2.4.1 Taiwanization

After 1975, Bentuhua or Taiwanization has become, arguably, the most important

symbol of cultural change over the past twenty years. Bentuhua describes the social and cultural

movement by the people of Taiwan to identify with Taiwan’s unique historical and cultural

legacy. Bentuhua has often been associated with Taiwan Name Rectification Campaign,

Taiwan Independence and Taiwanese nationalism.Taiwanese localization movement, is a

conceptual term used in Taiwan to emphasize the importance of a (separate) Taiwanese culture,

society, economy, nationality, and identity rather than to regard Taiwan as solely an appendage

of China. This involves the teaching of the history of Taiwan, geography, and culture from a

Taiwan-centric perspective, as well as promoting languages locally established in Taiwan,

including Taiwanese Hokkien (Taiwanese), Hakka, and aboriginal languages.

2.4.2 Taiwanese cuisine

Taiwan cuisine has several variations. In addition to the following representative dishes

from the people of Hokkien ethnicity, there are also Aboriginal, Hakka, and local derivatives

of Chinese cuisines such as beef noodle soup.

Taiwanese cuisine itself is often associated with influences from mid to southern

provinces of China, most notably from the province of Fujian (Hokkien), but influences from

all of mainland China can easily be found. A notable Japanese influence also exists due to the

period when Taiwan was under Japanese rule. Traditional Chinese food can be found in Taiwan,

alongside Fujian and Hakka-style as well as native Taiwanese dishes, including dishes from

Guangdong, Jiangxi, Chaoshan, Shanghai, Hunan, Sichuan and Beijing (Lin, 2006).

17

2.5 Semiotics

The study of Semiotics is connected to the study of signs, symbols, and signification

as communicative medium which changes behaviour (Barthes, 1964). According to Barthes

semiotics studies focus on the relationship of the signifier and the signified which are put

into a formula of Relationship of Expression and Content (ERC.) This explains the

existence of denotation and connotation as every word express will have its literal meaning

and expressive meaning. Example “Taipei 101Tower” in a denotation form means a

building with 101 floors. In connotation form the “Taipei 101Tower” is signified as Taiwan

national pride which represent Taiwan economic, politic and social success.

Hence semiotics is an investigation into how meaning is created and how meaning

is communicated. Its origins lie in the academic study of how signs and symbols (visual

and linguistic) create meaning. It is a way of visual perception of the world, and of

understanding how the culture and landscape in which we live in has unconsciously impact

on all of us.

Semiotics is based on the relationship between a sign, an object, and a meaning. The

sign represents the object, or referent, in the mind of an interpreter. “Interpretant” refers to

a sign that serves as the representation of an object. Signs can be verbal (words) or

nonverbal (C.S. Pierce, 1958). According to C. Morris (1964), people are interpreters of

signs. Signs have three factors that guide interpretation:

i. The Designative aspect directs to interpreter to a particular object.

ii. The Appraisive aspect highlights object qualities, enabling evaluation.

iii. The Prescriptive aspect directs one to respond in specific ways.

Ferdinand de Saussure (1857–1913), the "father" of modern linguistics, suggested

a dual notion of signs, relating the signifier as the form of the word or phrase spoken to

the signified as the mental concept. According to Saussure, the sign is completely arbitrary

and there is no necessary connection between the sign and its interpreted meaning.

According to Saussure theory, (Signifier + Signified = Symbol), Barthes on the other hand

suggested the Relationship of the Expression and Content to explain the intricacy of the

signified and the signifier.

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2.6 Imagery

Imagery, in a literary text, is an author's use of vivid and descriptive language to add

depth to their work. It appeals to human senses to deepen the reader's understanding of the

work. Powerful forms of imagery engage all of the senses of professional lenses (The Poetics

of Robert Frost, 2013).

According to The Poetics of Robert Frost (2013) there are seven major types of imagery,

each corresponding to a sense, feeling, or action:

i. Visual imagery pertains to graphics, visual scenes, pictures, or the sense of sight.

ii. Auditory imagery pertains to sounds, noises, music, or the sense of hearing. (This

kind of imagery may come in the form of onomatopoeia).

iii. Olfactory imagery pertains to odours, scents, or the sense of smell.

iv. Gustatory imagery pertains to flavours or the sense of taste.

v. Tactile imagery pertains to physical textures or the sense of touch.

vi. Kinaesthetic imagery pertains to movements or the sense of bodily motion.

vii. Organic imagery or Subjective imagery, pertains to personal experiences of a

character's body, including emotion and the senses of hunger, thirst, fatigue, and

pain.

According to You, Ye, Gao (1997), imagery is transforming the product imagery

intention into a product design method. The appearance of the product that produced by

association through the sense known as the product intention or product imagery. The

appearance of the product is not just a visual requirement (You, Ye, Gao, 1997).

However, it also contains the functional level and cultural level. Product intent mainly

through the semantics to enhance the interaction between the product and the user, to achieve

product identification; the proper use and operation of the product and product unique shape

(You, Ye, Gao, 1997).

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2.6.1 Application of Imagery

According to Fan, (2004), the image representation method is designed by the

transformation of the associated things. Product imagery visual association design

applied to the product representation image contains the following three steps:

1) Association of idea

Connect to the past experience, conception, memory and perception.

2) Transformation

Visualize the image described by the designer and convert it into a simple product

basic shape.

3) Commercialization

Make final production of the specific converted model on the colour, scale and

details.

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2.7 Case Study of Current Cross-Cultural Products

Figure Description

Lamp

Figure 4:Knitted Lamps

Knitted

Brand /

Design by

Ariel Zucherman and Oded Sapir.

Material Crochet knitting, modern lighting

Product

Description

Knitted is a collaboration

between Israeli designers Ariel

Zucherman and Oded Sapir. Knitted

combines both industrial and manual

crochet knitting with modern lighting

technology. The knitted wool threads

create fixed 3D patterns in sheet

formation that are then fitted over a

rigid skeletal structure before finally

turning into the dynamic sacks that

hold the globes of light. The result is

an organic light fixture that is

graphic, colourful and visceral.

Whether used as a pendant, a

floor light or a wall light, Knitted is a

great way to bring additional texture

to any room. The detail of the

knitting really makes people want to

reach out and touch it.

The lightweight aspect to the

design makes Knitted not only easy

to transport and easy to hang, but also

a perfect candidate for large

installations.

Figure 5: Pagoda Table Lamp

Pagoda Table Lamp

Brand /

Design by

Cyan Design

Material Burnished antique gold and topped

with a red fabric drum shade lined in

gold foil.

Product

Description

This pagoda with five flared tiers

forms the base of this boldly scaled

lamp makes fabulous home

decoration items that not only help to

create a warm and inviting space, but

also a striking accent on a console or

side table.

The lamp design has integrated

Eastern (Pagoda) and Western (Cap)

cultural into it.

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Figure 6: Fusion Lamp

Collection

Fusion Lamp Collection

Brand /

Design by

Fernando and Humberto Campana

for Baccarat

Material Rattan, Crystal

Product

Description

The hybridization of these

fusion lamp collection distinct parts

gave new meaning to the principles

of collage. It also revealing organic

shapes and creating contrasts

between smooth and textured

surfaces. Crystal looks to a new

future, as an exotic, unconventional

light source at the crossroads of art

and design.

Figure 7: White Mini Foo Dog

Table Lamp Set

White Mini Foo Dog Table Lamp Set

Brand /

Design by

One Kings Lane

Material Parchment, Ceramic, Resin

Product

Description

These foo dog lamps have

integrated the Chinese and western

culture. It also adds distinctive style

to any bedroom, living area, or study.

Each is crafted of resin with fresh

white finish and topped with a crisp

parchment shade.

Figure 8: The Rothesay Lantern

The Rothesay Lantern

Brand /

Design by

Tobi Fairley Home

Material Wood and metal

Product

Description

The Rothesay Lantern is a

combination of Western candles and

Eastern lantern design. This has

brought out a very special cross-

cultural feeling. This lamp is perfect

for foyer or dining used.

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Figure 9: Fusion of Chinese

Western Lamp

Fusion of Chinese Western Lamp

Brand /

Design by

Frontgate

Material Porcelain, shade and synthetic silk

Product

Description

This lamp is classically

designed and inspired by eastern

motifs. This lamp is featured with a

stunning hand-painted chinois Erie

design; the Large Chinese Table

Lamp integrate with western

elements adds a touch of elegance to

any room in your home.

Figure 10: The new old light

East meets West/The new old light

Brand /

Design by

Eyespired

Material Chinese Paper lantern, Western

metal frame

Product

Description

When “East paper lantern

meets the West old classic lamp”, this

fusion has brought out a simple but

perfect feeling that will catch the

consumer back to the classic.

This lamp is inspired by the

Chinese portable paper lantern. It

retains the traditional paper lantern

cover and combined it with thick

industrial sense of metal frame. This

has brought out the oriental poetic

beauty with simple Western style.

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Figure 11: Pinyen Bamboo

Lamp

Pinyen Bamboo Lamp

Brand /

Design by

Pinyen

Material Bamboo, Leather and Wire

Product

Description

Crisscross and hollow

weaving technique allow the light

hidden inside “Herema” to release its

pleasant temperature in a free manner

in the space. This lamp can be placed

anywhere and it is sure to transform

the darkness of the room into a

beautiful scene.

This design is derived from

cross culture from the Malay

traditional “Fish Trap” with Western

modern lighting. The wearing gives a

distinctive warm shadow.

Figure 12: Spun Lamp

Spun Lamp

Brand /

Design by

Evie Group

Material Rubber, Steel

Product

Description

Spun is inspired by the classic

wooden top toy, by Evie Group.

Spun is a creative and decorative

floor, table or pendant lamp.

The design is flexible in its

positioning of angles as a floor and

table lamp through the addition of a

rubber base support piece. The wire

pays further homage to the traditional

top, which is able to be wound

around the lamp or loosely placed on

the floor, resembling a top after it has

spun.

http://www.eviegroup.com/

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Figure 13: Chou SMA Wood

Lamp

Chou SMA Wood Lamp

Brand /

Design by

LZF / Yonoh Creative Studio

Material PVC

Product

Description

This lamp is inspired by the

film “The World of Susie Wong”

designers Yonoh studio plunge it into

the cinematic aroma of Hong Kong

with the Chou series. An object that

can decorate any room with tales

from the Far East.

This lamp has brought out the

Chinese culture shadows into our

living environment.

Comprehensive analysis:

Lamps seems to be the favourite creation or design by using cross cultural

elements. It is believed that "“lights” is sacred and neutral in every culture and always

interpret as a positive element. Hence this perception has encouraged many designers to

use their own culture and acquired culture to create a fusion design to encapsulate the

positive element of lights. This is in hope that the user will begets the positive aura from

the lights and receive prosperity.

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Ceramic

Figure 14: Angolan Basket

Weaving Meets Traditional

Ceramic